Fox Launches ‘9-1-1’ Campaign for Southern California First Responders – Variety – Sharing Variety Magazine


In light of the recent wildfires ravaging Southern California, Fox show “9-1-1” is honoring real-life first responders.

The drama, which follows police, paramedics and firefighters facing emergency situations, has teamed up with the Los Angeles Fire Department and National Fallen Firefighters Foundation to raise money and awareness for first responders affected by the fires. Fox will donate $5 for every retweet to the Fallen Firefighters Foundation, and will match up to $10,000 donated to the group as part of the “9-1-1 Hometown Hero Sweepstakes,” where fans submit stories along with a donation.

The show’s stars, including Angela Bassett, Peter Krause and Connie Britton, are featured in PSAs thanking first responders for their work, particularly in the Thomas Fire, which is California’s largest blaze to date. The clips will air on Fox and across social media when “9-1-1” premieres on Jan. 3.

“To all of our real life responders, I just want to say thank you,” Bassett, who is also an executive producer on the show, says in the PSA. “Thank you for being that voice of reason, that voice of comfort.”

Along with the Twitter donation program, Fox is holding screenings of the show on the studio’s lot for Los Angeles-based firefighters and their families. Holiday food deliveries to Los Angeles fire stations and first responder units have also been arranged by Fox.




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Diana Ross Reigns Supreme at Orchestrated Hollywood Bowl Opener – Variety


It’s a fairly safe assumption that by the time most superstar singers reach their 70s, they’re pretty set in their setlist ways. So there was plenty of reason to suspect that Diana Ross’ performance with the Hollywood Bowl Orchestra at the host venue’s official season opener Saturday night would be essentially a reprise of the show she was doing in her Las Vegas residency this past winter, with strings attached. But in this case, the answer to that eternal question of hers — “Do you know where you’re going to?” — was, wonderfully, no.

Saturday’s show turned out to be a true one-off, filled with songs Ross rarely — or never — performs live; only seven of the 16 choices overlapped with the set the Supreme being was doing in Sin City earlier in the year. She’s veteran enough to know that when you score a pickup band as good as the 70-piece-plus that filled the Bowl stage, you make use of the occasion to mix it up a little. It was presumably conductor Thomas Wilkins’ influence at work in a lot of these choices, leaving out some familiar chestnuts in favor of more oboe-friendly obscurities. And if the main rationale was which tunes lent themselves toward the lushest arrangements, it had the welcome side effect of giving the most hardcore Ross aficionados an evening that felt “Upside Down” in all the right ways.

The first clue that this wouldn’t be a merely augmented version of a typical Ross show came with the opening number, which, for one of the few times in the last decade, was not “I’m Coming Out.” (That standby didn’t come out at all Saturday, to the disappointment of some, given an audience that surely had a substantial overlap with last weekend’s Pride parade.) Instead, she and the Bowl orchestra opened with “He Lives in You,” a song associated primarily with the “Lion King” musical, which, as far as just about anyone could remember, Ross was last seen performing in an Oprah appearance in the late ‘90s — which might have been one of the last times she had a full vocal ensemble in attendance to pull the tune off, like the Fred Martin Choir that sat (or stood) in on several numbers Saturday. Most likely, it was picked for that slot because of its tribal majesty, although you couldn’t rule out someone having realized that it’s actually the perfect holiday number for Father’s Day Eve.

From there, it was onto more familiar territory, at least for a while, with “More Today Than Yesterday,” which Ross has made enough of a tour staple over the decades that some fans probably mistake it for a Supremes tune, and “You Can’t Hurry Love,” which turned out to be the only actual Supremes number of the night. The typical medley of her original group’s material wasn’t much missed — except maybe by the minority of the audience that hadn’t seen a half-dozen Ross tours before — as she went on to concentrate mostly on singles from the mid-‘70s through early ‘90s, including rarely performed picks like “If We Hold On Together,” “It’s My Turn,” “Home,” and one that she surprisingly almost never pulled out on tour until last year, the “Mahogany” theme. There was reassuring familiarity at show’s end, in the form of “Upside Down,” “Ain’t No Mountain High Enough” — another tour certainty she’s fooled fans into imagining she originated — and “Reach Out and Touch Somebody’s Hand,” which has never required a full choir to succeed, but which doesn’t suffer from one, either.

But it was three outside choices in the middle of the show — all of which predated even the Supremes by decades — that gave the show a memorably historical and emotional core. “My Man” is a true oldie Ross performed at the Bowl a decade ago and brought back Saturday, even though it’s a song more often associated with Barbra Streisand and, Fanny Brice before Babs. That led naturally into a cover Ross is more closely tied to, via “Lady Sings the Blues,” the Billie Holliday classic “The Man I Love,” which brought out the saxes in the Bowl orchestra’s mix.

Prior to these, on the other side of a costume change, was a ‘70s standard — 1770s, that is — “Amazing Grace,” which Ross has not been known to pull out in performance before. Whether it was spiritual or strictly stylistic reasons that led her to go gospel just this once, she owned it far more than you would expect anyone who’s owned that many Bob Mackie gowns to have a righteous right to. She seemed to forget the words in the opening stanza, but the huge confluence of moving parts that is an orchestra somehow seamlessly moved back to the beginning with her, and she brought home the rest of the song like someone whose last residency had been at the Church of God in Christ, not the Wynn. She may have an Aretha-returns-to-church album in her yet.

Even in a show as music-focused as this one, a lack of costume changes would have been a disappointment, so there were just the right amount — two — revealing three variations on a theme, with Ross emerging each time nearly lost in colorful, all-consuming ruffles that eventually got downgraded to the longest train this side of Union Station before being laid aside to be retrieved by a lackey. Fortunately, she appears to have taken care of her voice in recent years as well as her handlers take care of wardrobe; a few of the rough edges that are an inevitable byproduct of 74 didn’t detract from the pleasure of hearing Ross go for it — as much as she ever has in her career — and unlazily land each number.

Stage banter was minimal, and not necessarily by Ross’ design, as she was working with a band larger than one she can easily cue (with some of her regular musicians joining the orchestra). “I wanted to talk, but it’s too late now,” she lamented over the opening of “Theme from Mahogany,” signaling the loss of some introductory story we were not destined to hear. She did get a word edgewise before the closing number, telling the audience that she had been “playing with my grandkids and I broke my ankle… That’s why I didn’t move around, guys. Didn’t you see I couldn’t move? I was doing lots of hand movements,” she joked, breaking into oversized breaststroke motions.

The lack of visible boogieing on Ross’ part hadn’t been much noticed, anyway, since it seemed as if she were being deferential to the spirit of the orchestra, if anything. Not every performer who gets hooked up with the Bowl orchestra is as willing to share; some previous headliners have used the mass of strings as subliminal backup more than equal partner. Her willingness to share the reins for a unique one-nighter was just another reason to call her Miss Boss.

Prior to intermission, Wilkins led the Bowl orchestra in a selection from John Williams’ “E.T.” score, then brought out 29 members of YOLA, the Youth Orchestra of Los Angeles, to augment the adult players on Arturo Marquez’s “Conga del fuego nuevo.” As always, the opening night served as a benefit for the LA Phil’s work with YOLA and other educational outreach programs; this year’s gala was reported to have raised more than $1.75 million.



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Mia Ammer Joins as VP of Corporate Communications – Variety – Sharing Variety Magazine


Veteran public relations executive Mia Ammer is joining Paramount Pictures in the post of vice president of corporate communications.

Ammer will report directly to Chris Petrikin, Paramount’s executive VP of global communications and corporate branding. She will join the studio on Feb. 5 and work closely with Paramount’s film and television divisions to help oversee day-to-day corporate communications strategies and develop the studio’s corporate brand initiatives.

“Mia is a consummate professional, who has the unique experience of having worked in film and television publicity and in corporate communications,” Petrikin said. “She will be a valuable addition to our team and to the studio.”

Ammer has worked in Hollywood publicity for two decades. She has been VP of corporate communications and media strategy at Paradigm Talent Agency, where she oversaw communications, trade advertising, media relations, charitable activities, special events, and promotional efforts across all divisions.

She started her career in talent publicity at Wolf Kasteler and Associates before holding senior posts in the publicity department at Sony Pictures. She was head of strategic marketing and VP of publicity at Relativity Media and RED (Relativity/EuropaCorp).

Ammer also worked as a special consultant for the Twentieth Century Fox marketing department, working on the publicity campaigns for “The Wolverine” and “Runner Runner.”



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‘Meet the Press’ to Collaborate with AFI for Expanded Film Festival – Variety


WASHINGTON — NBC’s “Meet the Press” is moving forward with a second film festival this fall, joining with AFI for a multi-day event that will feature issue- and political- themed documentary shorts.

Chuck Todd, the host of “Meet the Press,” said that documentaries, particularly among millennials, are like the “new books,” and allow the show to widen its reach and to spotlight issues in a longer format.

“This got started because I have been dying to get into the documentary business,” he said, adding that it is a “natural growth of ‘Meet the Press.’” While the current political environment feels polarized and divisive, he said, it’s also a moment when people also are “more engaged than ever” and want to dig deeper on the issues.

Michael Lumpkin, the director of AFI Docs, said that one of the things that distinguishes the “Meet the Press” event is its focus on political and issue-oriented documentary shorts, a format that he said is “booming right now” in part because they can be more nimble than feature-length projects. The festival will be held from Oct. 7-9, and submissions are being accepted here. Entries must be 40 minutes in length of less.

The first festival last year, held on Nov. 13, featured three entries that went on to be nominated for Academy Awards: “Heroin(e),” about first responders coping with the opioid epidemic in Huntington, W.Va.; “Edith+Eddie,” about nonagenarian newlyweds whose lives are disrupted by a family feud; and “Knife Skills,” about recently released ex-prison inmates who try to remake their lives by working at a Cleveland fine dining restaurant.

Todd said that a goal is for “Meet the Press” to create one or two of its own documentaries per year. He already has ideas for such projects, and says that the subject would be “a societal issue that crosses partisan lines.”

At the AFI Docs film festival on Thursday, Todd moderated a discussion with director Kimberly Reed following the screening of “Dark Money,” about the insidious influence of big money in state politics in Montana. “Meet the Press” was a media sponsor of this year’s AFI Docs event, taking place this weekend in Washington and Silver Spring, Md.

“Dark Money,” with its focus on the personal stories of how individuals are impacted by the flood of campaign money in the system, is an example of how “storytelling matters when you are trying to raise awareness of the issues,” Todd said.

 



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What’s Next for Net Neutrality – Variety – Sharing Variety Magazine


WASHINGTON — Robert McDowell, a Republican former FCC commissioner, on Friday tweeted out a comment: “Testing. Testing. Just wanted to make sure that the was still working this morning. Phew!”

McDowell supports the FCC’s rollback this week of many of their current net neutrality rules, and the sarcastic tweet was a comment on the dire rhetoric that has surrounded the debate.

But activists, public interest groups and Democratic lawmakers are not only mounting challenges in Congress and the courts, but also hope that the issue resonates into the 2018 midterm election.

While FCC Chairman Ajit Pai and other fellow Republicans on the commission say that the fears of what will happen without the rules are way overblown, their vote does mean that ISPs are no longer explicitly barred from blocking or throttling content, or from selling fast lanes of traffic to websites and content companies that want speedier access to the consumer.

Internet providers will still have to disclose when they handle traffic that way, but the FCC’s authority over broadband has been dramatically scaled back. Enforcement largely will fall to the Federal Trade Commission.

Here’s what’s ahead in the coming months:

Lawsuits. In the immediate aftermath of the FCC’s vote, New York’s attorney general Eric Schneiderman said he would lead a multi-state lawsuit to stop the repeal. He has said that the agency’s process for rolling back the rules was “corrupted” because his own study found millions of public comments on the record were coming from stolen identities and fake accounts.

The rules are likely to be challenged on multiple fronts. The Internet Association, which represents major internet sites like Google, Facebook and Amazon, is considering its legal options, and a number of public interest groups also are weighing litigation. A likely argument is that the FCC ignored proper administrative procedure in reversing itself just over two years after imposing the rules, when Democrats controlled the agency.

The FCC’s action still has to be entered into the Federal Register, something that could take a month or more, so lawsuits may not be filed until then.

Pai responded to the lawsuit threats by quoting from “Casablanca,” saying that he was “shocked, shocked” that the decision would be challenged in court.

In Hollywood, the Writers Guild of America, the Directors Guild of America and Independent Film and Television Alliance are among the creative community organizations expressing dismay over the FCC’s actions. The DGA said that it was a “blow to the creative community and threatens the ability of our members, and other creators, to make their works available to internet users without interference.” Whether they would join a lawsuit remains to be seen.

The MPAA has remained silent on the issue. Among its members is NBCUniversal, which is owned by Comcast, while other members have privately expressed concerns about losing net neutrality protections.

Legislation. Senate Minority Leader Chuck Schumer (D-N.Y.) said on Friday that he would try to force a vote on net neutrality using a legislative maneuver in which Congress can reverse an agency decision via the Congressional Review Act. It’s a long shot, but Democrats want lawmakers on record on the issue, especially as they head into the 2018 midterms.

A handful of Republicans, including Sen. Susan Collins (R-Maine) and Rep. Mike Coffman (R-Colo.), publicly asked the FCC to delay or cancel their actions, expressing concerns over the lack of protections. Though activists have been urging calls to Congress, the question is still whether the net neutrality issue will spill over into 2018 midterm campaigns.

Kristen Soltis Anderson, pollster for Echelon Insights and author of “The Selfie Vote,” said that she doesn’t have polling on the issue, but, “I suspect this is an issue that is buried low on the priority chart for the vast majority of voters, but to the extent that it is influencing voter, especially young voter, views on the relationship between this administration and corporate America, it could play a role.”

Meanwhile, some lawmakers in California are talking about legislation to keep the rules in place in that state. The FCC’s action on Thursday also includes a provision in which local and state net neutrality laws would be pre-empted by the federal regulations, meaning that this could all be another avenue for a court showdown.

Consumers. McDowell is right. The internet did not stop functioning on Friday, the day after the FCC’s vote. Major internet providers like AT&T and Comcast have also dismissed the opposition to the FCC’s action as hyperbole, and they say that they will continue their policies of not blocking or throttling content.

Others predicted that ISPs would be reticent to start balkanizing the internet into fast lanes and slow lanes.

In a report on Friday, Moody’s said that “at least in the near term, the cost of negative publicity on their existing businesses far outweighs the benefit of additional revenue streams these companies can generate from paid prioritization agreements. We also believe there is little incentive to alter their customers’ experience, particularly in more competitive markets, and in light of our expectation for growing competition over the long-term stemming from wireless 5G.”

Activists will remain vigilant, and fear that over time, ISPs will have the incentive to exert their power and evolve the internet into something resembling cable TV.



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Beyonce & Jay-Z’s ‘Everything Is Love’ Completes a Trilogy – Variety


While we’re still absorbing the nine songs Jay-Z and Beyonce unexpectedly dropped on Saturday afternoon with their “Everything Is Love,“ on first blush the album seems to be the conclusion of a sort of marriage trilogy. It began with Beyonce’s 2016 album “Lemonade” and her widely discussed stories of infidelity — even a person mistaken to be the real “Becky with the long hair” in “Sorry” was harassed by fans — continued with Jay’s tales of contrition on his “4:44” last summer, and apparently reaches a happy ending with “Everything Is Love.”

Not only does everything about the album — its visuals, its lyrics, its shared musical spotlight — telegraph a happy, equal marriage that’s weathered its storms but come out stronger, the lyrics to the closing song “Lovehappy,” with its throwback ‘70s soul chorus, familiar sample and tag-team vocals, could be a wedding song for a new generation.

Nowhere are the lyrics shared more equally than on that track, which is basically set up as a look-back conversation between the two:

“Happily in love, haters please forgive me,” Jay begins. “I let my wife write the will, I pray my children outlive me.”

Beyonce continues:
I give my daughter our custom dress, so she gon’ be litty
Vintage pieces by the time she hit the city
Yeah, you f—ed up the first time, we had to get remarried
(Jay: Yo, chill man!)
We keepin’ it real with these people right?
Lucky I ain’t kill you when I met that b—h

Jay:
Nah, aight, aight
Y’all know how I met her, we broke up and got back together
To get her back, I had to sweat her
Y’all could make her with a bag, I had to change the weather
Move the whole family west but it’s whatever
In a glass house still throwing stones
Hova, Beezus, watch the thrones

Beyonce sings both the chorus and the song’s outro and conclusion:
You did some things to me, boy you do some things to me
But love is deeper than your pain and I believe you can change
Baby, the ups and downs are worth it, long way to go, but we’ll work it
We’re flawed but we’re still perfect for each other

Sometimes I thought we’d never see the light
Went through hell with heaven on our side
This beach ain’t always been no paradise
But nightmares only last one night

Damn, look at us now
Pray, pray for the vows
Way up now, yes, and a way, long way down
We came, and we saw, and we conquered it all
We came, and we conquered, now we’re happy in love



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New York Attorney General, Who Launched Weinstein Co. Probe, to Hold Election Fundraiser at WME – Variety

New York Attorney General Eric Schneiderman, who announced an investigation into the Weinstein Company on Monday, will be in Los Angeles on Thursday for a 2018 election fundraiser at WME Entertainment.

The Oct. 26 event, a luncheon at the agency, is hosted by Ari Emanuel, producer-manager Eric Ortner, songwriter Bruce Roberts, tech consultant Greg Mertz, producer Ellen Goldsmith-Vein, and business executive Jon Vein, according to a copy of an invite.

The event was planned before Schneiderman announced the probe, in which the state attorney general’s civil rights division subpoenaed the company for documents related to settlements of sexual harassment complaints as well as complaints. They also are seeking documents relating to age and gender discrimination complaints.

Schneiderman is expected to run for a third term next year. Tickets for the event are $1,000 per person, and $5,000 to host.

 

In announcing the investigation of the Weinstein Co., Schneiderman said in a statement, “No New Yorker should be forced to walk into a workplace ruled by sexual intimidation, harassment, or fear. If sexual harassment or discrimination is pervasive at a company, we want to know.”

Bob Weinstein, Harvey Weinstein’s brother, claimed, along with other board members, that they were unaware of the allegations, even though there have been reports that the board was made aware of at least some of the settlements in 2015.

Schneiderman received a $5,000 contribution from The Weinstein Co. in 2014, and in light of the allegations against Weinstein, his campaign said he would give that sum to Sanctuary for Families, according to the Rochester Democrat and Chronicle.

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Gkids Celebrates 10th Anniversary at Annecy – Variety


ANNECY, France —  If the animated art and family film distribution business remains as lively as the 10th anniversary celebration of Gkids, the emblematic U.S. distributor, held at the Annecy Festival, then it will be in very good health indeed.

Not that the business’ prospects are negative at all. The Gkid 10th anni party proved something of a metaphor, for the company and the business.

First, it was held in France. The Annecy Intl. Animation Film Festival was the place where Gkids could to get together the largest number of friends, reasoned Gkids founder Eric Beckman.

To celebrate, Gkids snagged the Mifa Chill-Out Lounge, Annecy Festival prime real estate, a Mifa market outhouse overlooking the town’s lake and steep-backed mountains. That in turn is a reflection of the industry position Gkids now commands at Annecy.

“When we started, we were total outsiders, my first time at Annecy we were kind of tip-toeing around, wondering what we were doing,” Beckman recalls.

No more. Among party-goers at Annecy were Michel Ocelot, director of festival opener “Dilill at Paris” and the French cineaste who brought the flag down on Europe’s modern age animation cinema with the rousing box office success of “Kirikou and the Sorceress”; Annecy jury member Ale Abreu, director of “The Boy and the World,” an Annecy Cristal winner: Sebastian Laudenbach, director of the extraordinary, hand-drawn feminist fairy tale “The Girl Without Hands”; Masaaki Yuasa from Japan, whose “Lu Over the Wall” won last year’s Annecy Cristal, its highest award; Manuel Cristobal and Antonio Saura, Cartoon Movie best producer and distributor awardees, who presented “Buñuel in the Labyrinth of Turtles” in Annecy’s Work in Progress.

Also in attendance: DreamWorks Animation producer Bonnie Arnold, who would the following day see “How to Train your Dragon: the Hidden World” go down a storm at Annecy; Mark Osborne, director of “Little Prince,” France’s highest-grossing animation film in recent years; Michael Rose and Martin Pope, producers of “Revolting Rhymes,” best TV series at December’s European Animation Awards.

The list is much longer. From outsiders, Beckman and Dave Jesteadt, Gkids president, are now Annecy Festival lynchpins.

They have also expanded, confirming at Annecy the 2nd Animation is Film festival in Los Angeles, unspooling Oct. 19-21. Beckman launched the New York Intl. Children’s Film Festival before Gkids.


GKIDS 10th ANNIVERSARY PARTY

CREDIT: F. Blin/CITIA

“I’d like to think that we are growing the U.S. market for a wider range of animation between Gkids and Animation Is Film. I think we’ve still got someway to go, like a hybrid model for theatrical distribution,” which would see more family-orientated films going out on broader geographic spreads,” Beckman said at the party.

That worked for “Mary and the Witch’s Flower,” which earned $2.4 million at the U.S. box office this year.

“We’re starting to move beyond platform releases towards wider simultaneous releases, and have established more direct relations with a growing fan base for animation,” Beckman added.

Gkids’ 10 Oscar nominations for films it’s distributed represent a tremendous marketing leverage for their producers in other territories worldwide.

“Over the last 10 years, my favorite experience has been to see full audiences in theaters, enjoying films from France, Brazil, the U.K. and Spain has been both a tremendous honor and really gratifying” Jesteadt enthused.

He added: “In terms of where we go from here, the biggest challenge is maybe an increasingly consolidated media market further and further in favor of large film products.”

There will always be filmmakers, producers willing to tell very unique stories in highly artistic ways and beautiful ways. “Our mission will be to take some of the commercial advantages we’ve developed over the 10 years to introduce these films to broader audiences.”


GKIDS 10th ANNIVERSARY PARTY

CREDIT: F. Blin/CITIA

 



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Walter Presents Picks Up Agnieszka Holland’s HBO Series ‘Burning Bush’ – Variety – Sharing Variety Magazine


Walter Iuzzolino has landed his favorite-ever TV series for streamer Walter Presents: Agnieszka Holland’s “Burning Bush,” the HBO Europe original that he says inspired him to launch his foreign-language on-demand service in the first place.

Iuzzolino curates, and is the face of, the service, selecting what gets bought and presenting it to viewers on screen. A global drama expert, he ranks “Burning Bush” as the best scripted series out there.

“Something about this piece touched me in such a way that I can confidently say it is the very best thing I have ever seen,” he told Variety. “This was true when I saw it four years ago and is true today.”

The Czech series will launch on Walter Presents in the U.K. later this month. It runs to three 90-minute installments and originally went out on HBO’s European service as HBO Europe ramped up its investment in original drama. Beta Film distributes and did the U.K. deal.

The series is set in Soviet-occupied Czechoslovakia in the late 1960s and examines events surrounding the death of student protester Jan Pallach and his family’s subsequent fight for justice. It was filmed on location and made by Czech production company Nutprodukce.

“Devastated mother and family sue the Russian government who have invaded Czechoslovakia and want to smear the name of her son….It’s not an easy sell, and yet it’s perfection. There’s something incredibly epic and simple and visceral about the way it is portrayed,” Iuzzolino said.

Non-English-language drama is traveling increasingly well, but the Czech Republic is not known internationally for its scripted TV output. “Burning Bush” is, however, Walter Presents’ third Czech acquisition after “The Lens” and “The Invisibles,” both of which hailed from pubcaster CT.

“Burning Bush” will be part of Walter Presents’ year-end lineup, which also includes two series out of the Netherlands, “The Prey” and “The Body Collector”; “Frozen Sky” out of Germany; and French drama “Flight of the Storks.”



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Newest ‘Spider-Man’ Movie Shoots to Top of DVD, Blu-ray Disc Charts – Variety – Sharing Variety Magazine


Sony Pictures’ “Spider-Man: Homecoming,” the second reboot of the Marvel Comics franchise, easily snagged the top spot on both national home video sales charts the week ended Oct. 21, while the Universal Pictures comedy “Girls Trip,” about four female buddies road-tripping to New Orleans, debuted at No. 2.

After two weeks at No. 1, Walt Disney Studios’ “Pirates of the Caribbean: Dead Men Tell No Tales,” the fifth film in the pirate franchise, slipped to No. 3 on NPD VideoScan’s dedicated Blu-ray Disc sales chart and No. 4 on the overall disc sales chart, which tracks combined DVD and Blu-ray Disc sales.

Holding its own was the 1993 Halloween fave “Hocus Pocus,” from Disney, which moved up a notch to No. 3 on the overall disc sales chart.

Rounding out the top five on the combined chart was Sony Pictures’ “Baby Driver,” down from No. 2 the prior week.

On the Blu-ray Disc sales chart, “Baby Driver” came in at No. 4, just ahead of Warner’s “Wonder Woman,” which finished at No. 6 on the overall disc sales chart.

The newest “Spider-Man” film was the clear sales leader, with “Girls Trip” selling just 22% as many units.

A third new release, a Blu-ray Disc/DVD combo pack edition of the first season of the original Netflix series “Stranger Things,” available exclusively at Target Stores, debuted at No. 8 on over the overall disc sales chart and No. 6 on the Blu-ray Disc chart.

NPD research shows “Spider-Man: Homecoming” generated 79% of its first-week sales from Blu-ray Disc, and 13% from Ultra HD Blu-ray Disc. “Girls Trip” generated 45% of its sales from Blu-ray Disc.

On Home Media Magazine’s rental chart for the week ended Oct. 22, “Spider-Man: Homecoming” easily debuted at No. 1, while Warner’s “The House” soared to No. 2 now that its week-long holdback from Redbox is over.

“Baby Driver,” the previous week’s top rental, slipped to No. 3.

Rounding out the top five were Universal Pictures’ “The Mummy” at No. 4 (down from No. 2) and “Wonder Woman” at No. 5 (down from No. 4).

Thomas K. Arnold is Editorial Director of Home Media Magazine.

Top 20 NPD VideoScan First Alert, powered by Nielsen, chart for the week ended 10/21/17:

1. Spider-Man: Homecoming (new)
2. Girls Trip (new)
3. Hocus Pocus
4. Pirates of the Caribbean: Dead Men Tell No Tales
5. Baby Driver
6. Wonder Woman
7. Transformers: The Last Knight
8. Stranger Things (new, Target exclusive)
9. It (1990)
10. Guardians of the Galaxy Vol. 2
11. Halloweentown/Halloweentown II
12. Batman vs. Two-Face (new)
13. The Nightmare Before Christmas
14. Captain Underpants: The First Epic Movie
15. The House
16. The Mummy (2017)
17. Boo! A Madea Halloween
18. The Lion King: Signature Collection
19. Monster House
20. It’s the Great Pumpkin, Charlie Brown

Top 10 Home Media Magazine rental chart for the week ended 10/22/17:

1. Spider-Man: Homecoming (new)
2. The House
3. Baby Driver
4. The Mummy (2017)
5. Wonder Woman
6. Pirates of the Caribbean: Dead Men Tell No Tales
7. Transformers: The Last Knight
8. Captain Underpants: The First Epic Movie
9. 47 Meters Down
10. Wish Upon

For complete sales and rental charts, visit HomeMediaMagazine.com.



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